Summary and Farewells

It's over. At least I hope it is. Everything is handed in, it's just a matter of plating the waiting game, "Aw the waiting game sux let's play Hungry Hungy Hippos*!"

There are rumours floating around that there needs to be a review of the entire production, other rumours are that there be atleast 14 blog posts. I can't be bothered counting to see if I made it, there's a few, several in fact. More than a few. But I'm adding this last one to hopefully put me over the top.

My final impreseeions of my piece are "Meh". It certainly won't be winning me any awards or jobs. It's short. It has minimal animation. It's I dunno, "meh". Maybe in a few weeks I'll like it again. But on the positive, it looks like what I wanted it to, there just isn't enough of it.

My biggest gripe is that I spent so much time bemoaning my inability to draw, I didn't get enough done. As a result all I have are sliding images accross the screen. Given last year I had some hand drawn pose to pose animation, it does feel a little like a regression.

However given my realistic goals were at the start of the year was to have a grasp of Photoshop, After Effects and also to ensure that the images were high resolution and wide screen (last year this was not the case). So in that regard the year was a success. I have my head around import and export qualities and file types, and I have a base knowledge of Photshop, After Effects and Premiere. Mission accomplished.

The other goal was to have a piece that I could continue to work on and shop it around to sell it as a series. I have to admit, I feel silly even saying that. As if it is even a viable goal. But that is what I came to the course for. And while the final piece is far from jaw dropping, it does capture some of the quirk and interest I was hoping for. Also the majority of people to see the final version or close to the final version, have all without prompt stated it makes them want to watch a complete episode, and these are people who have seen much of the work before. It is really nice to get that response, and it does make me think that I haave achieved what I set out to.

So basically, I guess what I am left with is close to what I aimed for; that is a piece that represents what I had in my head, and a greater technical knowledge. It is by no means a great achievement in either technique, skill or story, but it gets the job done. I will be continuing with it, completing the 3-4 micro episodes covering off some of the major characters within the universe, and then I will be taking it round (whatever that means) to try and sell it at a series. Ultimately that is what I think I have elarned from the piece. I am not an animator. I don't want to be either. But I do want to have the skills to work in the industry, and making stuff happen is where I really want to be; writing, directing and/or show running. I have neither the patience or the skill to whip up great artwork, leave that to the Yen's of the world, they do much better job than I ever could. I'll just have to find my place somewhere else along the line. But with what I have learned from the course, it will be closer to the action than had I just followed along a purely screenwriting path, which was the fork in the road I face way back in the day.

* Classic animated character quote: Homer Simpson

Poster for Press Kit

DL card 2 for Press Kit

DL card for Press Kit

Wow! Didn't think this would load.... Well as you can see there is a little more movement in this one compared to the other one. This is pretty much it. I want to add a grainy film filter over this, and some sfx of a film projector, and relevant sounds throughout the piece (breaking glass, typewriter etc).

Also would love to have, rather than straight cuts between the shots, each panel be on a 'page' and move between each panel. If time permits. We'll see.

Obviously the narration and the music needs to be timed out also. Will cut up the narration so can hold on some of the images. This may make the narration a little stilted. But at this stage, I'll wear it, 'cos I can't bear to see the images go by to quickly. Bad, and selfish film making, but whatever. This is a project, not a submission for the Oscars.

Mp4 edit of shots. you get the idea. Still need to add stuff and re time sound

Still having technical difficulties....

Was wanting to upload some more images, but the site or my computer is refusing to comply... will try on the machines at school on Monday. I have muted all the colours of the characters (here I would show you a before and after) to continue that vintage feel I am going for. I have also redone some of the backgrounds to have that more deco-futurism look and colour. One looks a little Aztec actually, but still ties in better than the original. THis will all make much more sense with the images, but I think it is my computer that doesn't want to play so you'll have to wait til Monday.

Week... sumptin, I don't even know anymore

*NOTE - Images other than what are shown below were not uploading. Will attempt again later tonight or tomorrow. Will definitely be worth the wait*

So TOTALLY forgot about this, was busy planning my ah plan for when I graduate... that happens automatically at the end of the year right? I have been doing stuff though... painfully painting the backgrounds. Only to come to the conclusion I think I'll have to jettison the scenes that half of these backgrounds are for.... I swear I am normally quite good at organising stuff and keeping on schedule. Just not when I have to rely on shitty artists (i.e. me). Anyway, other than not being happy as usual, I have been relatively comfortable with my artwork. It's not great by any stretch, but for a hack such as myself, it was a glorious success. I have enjoyed doing a lot of the painting, using 3 shades to give volume has been really good. I think I have learned quite a bit in what works and what doesn't. It was almost fun. Anyway, I'm into hardcore spreadsheets now, what elements still need to be source (some sound effects still a couple of images to finalise) and how it is all going to fit together etc. Feeling ok actually. I Think I have a plan to get the thing finished to a decent standard and get all my other work done so I can graduate so I can get going in the industry. Ah no longer being a student. Bliss. Not that being a student isn't a cake walk. It is. It shouldn't be. But it is. I just suck at it. Looking forward to being in the real world. I suck at that too, but it pays slightly better....

Anyway just so you've got something to look at, here are some of the things I've drawn and painted in the last week or so:

Australopithecus Afarensis

Homo Habilis

Homo Erectus

Homo Sapein

Superior Homo

General Faghaater

Hello Sailor

Week 9?

Holy disappearing calendar Batman! Yeah so there is not enough time, ther is NEVER enough time. Well there probably was enough time, but I spent most of it bemoaning my inability to draw, and so time went the way of all things, and left me with very little left over. Anyway so I'm meant to have all assets drawn and coloured by the end of this week... ouch.

I think i'm ok, like i said recently I have let go of expecting this to be a great piece and seeing it as only a project, a vehicle to see what I know, what I don't and what I need to. I saw Darren working on his piece in Toonboom, and with my renewed enthusiasm for drawing, or more accuratley my reduced hate of drawing I look forward to doing some actual pose to pose hand drawn animation. But that is likely not going to be this project. It will be something I can mess around with after the course. I just think I have budgeted time and experience on animating with 'puppets' or 'cut-outs' in After Effects, and trying to squeeze in some Toonboom and pose to pose animation now will topple my already rickety production.

Anyway I thought I would post some drawings here to break up the monotonous talking. These are some of the images from the opening 'comic book' intro. Not all the drawings, just some that I thought are the most 'fun'. Enjoy.

Week... 7?

So nothing to show here, but plenty to talk about. As mentioned in the last post I'm pretty unimpressed with my art work, and so I had set about finding a way of creating images that I would be happy with.

Firstly I wanted to change up the colour palette. A decision that was reinforced after presenting some of my work to Huni. The backgrounds as they stand seem disparate due to a lack of continuity in the colour scheme. What I want to do is change the colours to a bronzed, art deco futurist look. To go a long with this new direction I wanted to also clean up the images themselves.

To achieve the look I was after I went and had a crash course in Illustrator, from a pro Illustrator teacher. I was confidant that with my newly acquired rudimentary skills, and a stronger vision I was on my way to being able to finally gain some traction on my project. But after attempting to re-draw some of the introductory images I realised the fatal flaw in my plan: me.

The images were not suddenly going to appear on screen, matching my vision just because I was now drawing with a virtual pen as opposed to a physical one. Nor were the colours going to spontaneously meld to the scheme I had in my head. The problem, you see, had not been my lack of skill with a pen, but a lack of discipline and patience.

Patience when creating has always been a downfall for me, particularly with images (writing I seem to have marginally more self discipline and self control). I want what I want, and I want it NOW. Obviously that is not how it works. This lack of patience is confounded by my inability to align the skills needed with any I foresee using long term. That is, I KNOW I will not get a job as an animator, nor do I really want one. I certainly won't be threatening any prospective concept artists jobs either. This in itself is fine, I know where I want to go (ish) but it leaves a mental set against creating the work, normally reserved for 3D and Maya related subjects.

I am sick of whinging about the project, no doubt everyone is sick of hearing about it. And whilst I'm not committing to quit, I am going to focus on getting out of the project what I need to. That is continuing to develop story telling skills, and learning more from the 3D guys about their process (I am still naively assuming I'll take on Producer roles in the near future). I'm also wanting to make sure the marketing and promotion sides of the course are taken full advantage of. This should make little impact on my project, but for me, it will. What it means for me is that I am going to relieve the pressure of the look of the piece. I am not going to be able to get the piece to look like I want it to (i.e. awesome) so I'm not going to wast energy a) in a futile attempt to make it so and b) chastising myself for not making myself work harder on my weaknesses to make it better.

This is a capitulation, I won't deny it. But I am doing what I can to salvage from the project experience in skills that I have and want, as opposed to using it as a vehicle of shame, highlighting the many skills I don't.

Intro at Youtube

Link to AFX intro at Youtube. Fairly low quality as had no time to wait for the higher quality to export, but it's ok.

http://www.youtube.com/watch?v=4YK62ZKCO94

Week 5 Milestone pt II

In adition to this there will be a link posted to a rough version
of the intro with music and narration. The timing is still not quite right
(why is it taking so long, seriously?). This is to demonstarte what else has
ben done over the 5 weeks, and that sound has been recorded.

Dialogue for the animated part of the film has also been recorded, but probably not going to
upload plain sound files... especially as they are still pretty rough
and without images....all but pointless.

Along with drawing the elements/ props/ characters for the backgrounds (as mentioned in previous post) next jobs will be to draaw backgrounds for the animated section. Then they
will be added to the AFX sequence, with aforementioned dialogue and rouch animation.

Week 5 milestone

So here are the backgrounds from the 'comic book ' style intro.

Each has a 'benday dots' layer to give impression of being a
vintage print.

Not much else to say... they are pretty average I think, but
they get the message accross I guess.

Next milestone will obviously include the props/ elements/ characters
to apprear on these backgrounds. Most are already exist in some
form already.

Week 4

Week 4 was not good. Paralysing fear about what I am going to do when I have finished my degree has manifested itself as procrastination (I swear it is the fear and not flat out laziness) and focus on other, unessential projects. However, all the dialogue has been recorded, the music is also done (though requires some adjustment), the timing of the intro is getting close, and all the backgrounds have been drawn and scanned (though not yet coloured) . As a result the week 5 milestone is achievable and may actually be achieved. Apologies for lack of images... I'll chuck some up in the next few days... maybe even tomorrow.

I'm finding this process boring, and un-engaging. I take accountability for the fact that I'm inherently lazy, but I think it's also because I'm being forced into work I don't have as strong an aptitude for; that is drawing, colouring... highly detailed orientated tasks. As I mentioned I am wondering what I will do in a few weeks time when (all going well) I graduate. I primarily want to write, but directing is something I also really enjoy. I also want the skills to be able to get projects off the ground, so producing is also something I want to take on. I'm using these desires as justification for my poor performance with Q Men (which btw I STILL do not know how to write 'QMEN', 'Q Men', 'Q-Men', 'Q-MEN', 'Qmen'. Dunno. Flat out dunno.) I know the piece will be fine in the end, but I have to admit, though I really like the concept and characters, I'm primarily using this project as a vehicle to see what it is I know and what I need to know.

Week 3 (week beginning 25/07)

Week 3 began like any other; with a Sunday, even though Sunday really feels like the last day of the previous week. But on the second day of the week, Monday, which feels like, and in reality is treated like the first day, I went to school.

Week 3 was about continuing and consolidating the intro to the piece. As a result I continued tinkering with the timing of the sequence. This was made much easier now that I had the skills to play the sound and images at the same time, oh what an age we live in!

I worked up a composition using the storyboard image for the 'new stage of human evolution' section. In this I have the Darwinin model of the 'ape' through to Homo Sapien sliding into screen as the camera pulls back. Was happy with the final result.

I also worked on the finished background for the opening panel 'the gay gene has been found'. As usual I am not at all happy with the quality of my artwork, but it will have to do for now, I think I'll get better as I go.

Getting to this stage has however highlighted a few areas that I knew I was not 100% clear on. That is the backgrounds on a few of the panels, are basically blank. I'm not sure how or if to fill these. Given my milestone for week 5 is to have all these completed I will have to decide soon. It is not a big headache, just a design issue on how to make blank backgrounds remain interesting, and endure I'm not repeating, or making them different for the sake of it.

I'm also still not 100% on how to move into the panels and from one to the next. I don't want to move around a comic page as if we are reading a comic book, but I would like to start the piece as zooming into a comic book. But from there I think I want to just move from shot to shot ignoring the comic book presence. However I also do kind of like the idea of moving within space to the panels in a fashion similar to the opening sequence of Spider-Man 3.

Finally I need the music trimmed and edited to fit the timing of intro. It fortunately is fairly close but needs a few tweaks here and there. But week 5 milestone is looking achievable and appropriate. Famous last words.

Week 2 (for week beginning 18/07)

So was late on week 2, but what else is new with me? I'm still going to list it separately however to aid in comprehension and digestion. Please wait half an hour after reading before swimming.

Week 2 began with getting the dialogue recording to be used in the construction of the edit for the intro. I had already recorded a 'rough' version of Hermaphroditie during the semester break. So what was recorded was the narrator and Velvet Fist. They are both still a little rough, but they are more than sufficient for their purposes at the moment.

The narration was then added with the music to an AFX file along with the storyboards to become a kind of anamatic. This will become the finished piece with all the rough elements replaced by finished pieces. This way the timing will already be done, just each element can be added as it becomes available.

I had trouble initially with this as I could not get the sound and images to pay simultaneously. Getting timing correct without them playing at the same time is nigh impossible. Jack was able to however point me in the right direction... or at the right button and this problem was alleviated. Phew.

Semester 2: Week 1

Belated post for last week: -

1st week back! No where near enough work done over the holidays but what else is new? I was comfortable with where I was going, but was putting off drawing as it is such a struggle to get on the page what is in my head procrastination has become a constant companion.

I did however manage to re-order my file structure, which was over 2 hours of work. Whilst this in itself was a for of procrastination, it did help set out a work flow of what was needed, and where all the elements were (or would be) in relation to eachother.

I also got a rough record of Hermaphroditie's dialogue, and a 2nd version of the music. more recording would have been done but equipment is not lent out to current students during the semester break, which is incredibly counter productive.

I am however, for the first time in the course feeling comfortable with, and even excited about using the software for creating my piece in this case After Effects. I have watched a couple of simple tutorials online, and will make this part of my homework to watch at least one every night so as to become more comfortable with the program and perhaps get more ideas for how to put my piece together.

3D Week by Week retrospective....

Week Ending 12/02

Have to have designs for a model that will be made out of clay. I will make one of Velvet Fist.

Week Ending 19/02

The clay model we will make is going to be made into a 3D model by being scanned. Sounds good. I have finished drawing for VF. She is MASSIVE. Huge arms, massive quads and enormous tits. Awesome.

Week Ending 26/02

Building clay model. Darren made the armature and at this point am just building up the mass around the major muscles. Rough shape only.

Week Ending 05/03

Much more detail in the model now. Can clearly see that is a muscled amazonian woman. Still lacking any real detail, but the shapes of the muscle groups are showing.

Week Ending 12/03

Finished model this week. Added clothes, kind of a sporting leotard. I had trouble with the hair and facial details so Darren was able to help out there. Basically she looks like Hulk's lesbian weightlifting cousin from the Ukraine. Awesome.

Week Ending 19/03

Scanning the models this week. My model is finished, but could still stand to be polished a little more. The scan looks pretty cool though. It's fun to see the model now existing in virtual space. The scan seems to have worked quite well, pretty much all the detail on the clay model has been captured in the scan

Week Ending 26/03

Have had to start building mesh around the scan of the model. I did not know that this was the process and am a bit stumped. I thought the scan of the clay model was going to be rigged, but aparantly we have to build a mesh around the scan. I have seen the process as akin to using plaster strips, like those used to plaster a broken bone, on a wire frame. Sounds simple enough. Of course as with everything in 3D it;s not the case. I am having a lot of trouble gaining good contact between the mesh and the scan. Every time I create a new strip it is incredibly difficult to stretch it down to the scan. THe scan has to be in 'live' mode so that when the vertices of the mesh are brought in it's vicinity they snap to the scan resulting in a tight 'wrap'. Sounds good in principle, in practice its not working for me. I have one strip aver the top of VF's head and although that isn't to bad I have to stretch that across the whole scan, and whenever I extrude out more faces I can't get it to snap to the scan.

Week Ending 02/04 - Holidays

Week Ending 09/04 - Holidays

Week Ending 16/04

Basically did nothing to the model this week. I can't get it to work. Will try again later.

Week Ending 23/04

Still minimal to no movement in building the mesh over the scan. I am not really sure how to do it. I know I need to extrude faces, and snap the vertices to the scan which has been made 'live' but it simply does not seem to work for me. Also I can see the tidy work of all the competent 3D guys and see my crumpled mesh and have so motivation to move forward.

Week Ending 30/04

Have had to pull my finger out and really start moving on getting the mesh completed. Until this point I had simply had my head in the sand, I was not really sure how to move forward. I was having a lot of trouble building the mesh around the scan. And because it was not working how I expected I took the easy route and put it on the back burner. But with only a matter of weeks until the rig is due (in an animation no less) I am so far behind I can't afford to be complacent. Apart from simply not allowing myself to give up, I'm not sure why it finally worked for me this time, but there was an element of the penny dropping. Though there was no one key element that now made sense, I was simply more able to build the mesh around the scan. It probably helped that I had digested what and why I was doing what I was doing. What ever the reason, by the end of the week where previously had been a small strip of mesh over the head of the scan, there was now a completed mesh... without soles on her feet. I had tried to fill the gap several times but it did not work. But I knew this would be a small problem, and was just so pleased to see a full mesh, blocky as it was, that I could begin rigging.

Week Ending 07/05

This week started working hard on rigging. I was well behind in getting this assignment completed so have taken all the lectures Jack had put on DVD and set down for a long spell at the computer. Basically every minute of lectures equalled about 5 minutes of work as I would have to go over each moment in the recording several times before I understood what was being done, how and why. It was good to finally gain some traction on putting the rig into the model. It is something that I had previously had NO understanding of at all, and it was certainly a sense of achievement being able to not only comprehend but put into practice. Seeing an arm, a leg and back move how they were supposed to and know that I had made it work myself was a small thrill especially given how negative a mind set I had against 3D and my ability to make it work.

Week Ending 14/05

Sent email to Jack on Monday of this week for assistance I had had with where I was at with rigging. However by the time I saw him on Thursday, by continuing on with the recorded lectures I had managed to get beyond questions I had asked. Basically I had competed the skeleton as far as I could go. Basically I had been able to get all the joints for for the arms, legs, back etc working including distributed rotation. I had included some fingers, even though the model had none, ditto for the eyes. Jack advised that since the model was absent of these items there was no need to rig them. I did not complain. The next step here confused me, as the skeleton (joints) I had so studiously spent the last week or so creating were deleted and then, with Jack's scripts a working rig that calculated the distributed rotations itself was dropped in. Why did I have to make the skeleton then? I think I asked, but my comprehension of what I was doing was pretty much maxed out so I wasn't able to understand the concept.

As a certified genius (see Facebook IQ test) I hate that I struggle not only with the practical elements of how to make Maya do what I want, but that I sometimes don't even understand why I am asking it to do certain things, I choose to believe it's because I am to advanced, like before ADD was 'discovered' restless kids were often thought to be to advanced for the rudimentary classes in school. I choose to label myself this way and then I feel better and justified in my remedial Maya skills.

There were however some issues with the script in its application to my model so Jack took a file to fix before the next class. I will draw up the key poses of the animation I will do when the bugs are worked out of the rig. The animation will be of VF falling and landing athletically, flexing, then realising she is naked and effeminately hiding her body.

Week Ending 21/05

Got fixed rig from Jack at start of this week (17/05). There had been some issues with the deformation and joints. I think probably not enough influences as because I was behind had not finished deformation befoe controllers were added. This was also becuase I was unfamiliar with the exact production flow as I did not really understand what each element was doing. In all honesty I'm still not entirely sure. I am still a little confused by the process of setting up the 'skeleton' (joints?) and then deleting them all to add the 'rig' (controllers?). My understanding is that the skeleton is added to set the parameters of each unique model. Then the deformation rigging should be completed so that it can be seen that the deformation rig is working in tandem with the joints to move the puppet as expected. When this point has been reached the actual rig can be put in, and for this to be done the skeleton needs to be deleted (?). Like I said, I'm still a little iffy. But at least have a vague comprehension so if I had to do it again (which dear Lord I hope I never have to!) would at least know what step I was at.

Anyway with Jacks fixed rig (he also could not resist tidying up my clumsy modeling, which was great 'cos VF now at least resembles a human of sorts) I was able to block out the poses for my animation. I have tried to go with very dynamic stances, for interest and because VF is obviously an incredibly powerful and dynamic character. Getting most of the poses was not too much trouble (getting her in the squatting position was not easy I have been told this could be because the IK and FK handles do not work well for this movement) but figuring out the movement between the poses is not something I am looking forward to. I will work out the pose between the poses and keep doing this 'til the weight transference between the poses looks right. Then I guess I have to work on the timing between the movements.

Week Ending 28/05

Finalised animation of the character. I had pretty much all the poses I wanted, and the weight transference between them was close, but there were timing issues. This was rectified quickly with the assistance of Jack by simply stretching and condensing the time between the frames in the timeline. I was familiar with moving the frames in groups but was not aware of this function of being able to scale the length of the selection. It is something I will take advantage of in future, as I had found getting the poses difficult but achievable, but moving them around was more difficult, even though I knew in my head the approximate timing I was after.

Jack was able to help me get the animation to a point where it was acceptable. The rest of the assignment was to get all the supporting documentation ready to hand in. This included all the tracking documents of how the project was to be backed up, and how the files were to be tracked and named. The other guys included copies of what they handed in for the production bible. But given my bible was for a 2D film I wrote new tracking documents specifically for the 3D assignment. These were not exactly what I used in the creation of the animation, but a tidied up version of what I learned was required. So they are a hybrid of what was done, and what was learned and represent what I believe I would use should I make another project similar in requirements.

This was all handed in along with the maya files of the animation, the model and the rig. This journal makes up the final piece of the assignment. As can be seen this has been entered on one day, but is representative of the work flow, frustrations and success I had in the assignment.

End of Semester Summary

Well the end of semester is here and with it comes the end of pre-production. After creating the production bible I finally feel like I have a handle on the pre-production process. This is something that I’m sure should have sunk in much sooner, but for what ever reason the flow of the process was something that had eluded me a little til now. I think part of this was because of my lack of familiarity with all software and hardware involved with the process; therefore time estimates for the work remained an impenetrable concept.

Through this pre-production phase however I have aligned myself with After Effects. It will be the program I will be using for the bulk of my production. As a result I have been able to get my head around the work flow I will be using and therefore been able to conceptualise how the piece will be constructed.

This pre-production also involved working out data storage, render times and asset management. This forced me to assess the project from a perspective I have until this point steadfastly ignored, as a result for the first time I feel I have a handle on how to quantify the project from a purely numerical perspective. This has greatly aided in my ability to break down the creative elements of the film, how long they would take, how much they would cost and how much space they would take up.

Whilst my comprehension of the project from this perspective is still rudimentary it has given me confidence in going forward with the project. It has given me a way to track my progress from a point of view other than just story telling, which up til this point was the only way I could assess my work. I’m excited by this development because it has given me some insight as to how I may be able to produce work post TAFE in the professional world. Given my limitations as a visual artist (my story telling and directing abilities are naturally unparalleled in the known universe), knowing how to break down a project into what elements I will need other artists to create, how long it would take etc gives me some confidence that I will be able to create projects of my own after graduation. I was genuinely fearful that my lack of skills would prohibit this and so for this alone I would rate my pre-production this time around a great success.

The success of my pre-production from an artistic standpoint however has probably been less of a success. As I have been gabbing about incessantly throughout the blog, and this summary, I am unhappy with all of the artwork I have created. I have been reticent to get my class mates to assist too much despite their superior ability, because I can not return the favour in kind. I wrote a few scripts for the guys and was able to parlay that into some character designs and colouring, but I was left to do the heavy lifting on much of the remaining work. Whilst the other guys would have made much lighter work of this, as I said I would not have been able to offer much service in reciprocation, given my drawing, animating and compositing skills are so basic. So rather than have the ledger heavily in my favour, and take precious time away from their projects I struggled alone, like a martyr, against the harsh elements of my inferior artistic abilities. I’m so thoughtful that way.

But despite my pre-school drawing ability, I am feeling confident that my final piece will be something that I’m not repulsed by, if not even proud of. Again this is because I am comfortable in what elements I will have to produce. Given I am able to break down the project into smaller pieces, I can choose to start with those elements that I know I can do well, therefore gaining in confidence and quality as I go. Also given I am committed to using After Effects I look forward to learning the program and utilising its functions to greatest (ahem) effect and polishing my turd-like art into something almost palatable.

It is still a long way to go, but I feel I now have a decent map which should lead me at least in the general direction of my final destination.

Last Week of Pre Pro

So the last week and a bit has been all about madly getting all the elements together for the submission of the production bible. Most of the time has been allocated to the 'production office' i.e. all the paperwork elements involved in film making. So there has been budgeting, scheduling, file management and naming and data storage calculations and requirements.

There has still also been much artwork to create, finalise and sort. So designs have had to be cleaned up and composited for model sheets, and expression sheets. Final decisions have had to be made about colours, design elements and props to do with environmental designs and characters.

As mentioned previously the art work creation has been a much harder slog than the production office work. That again is because I find the organising and decision making far easier at a 'bigger picture' level. Deciding the exact shape, colour and placement of a coffee table in a room is far harder when I have to draw it than it is working with an artist who can 'riff' a dozen different designs in 10 minutes, and moulding their work to fit what I think is the right feel of the piece. My point being that I find 'steering' far easier than 'generating' when it comes to image creation. Of course I concede this could simply be whining.

The completed bible is however a great document that is an excellent map of where I am going, and where I have come from. It is also motivating to see how much work has been generated even to this point. Especially considering I know I have less art work than my class mates (see above) and yet there is still a lot of material which goes a long way to defining the piece.

Video Blockand updates

Last week video block was filme and submitted. Given it is for the animation I did not shoot the static images from the opening sequence. Also given there is not much movement from either of the characters was able to double up the shots and just copy and paste. Was useful for getting some framing with live action and movement in the frame.

Am now moving to some of the 'paperwork', of finalising production pipeline, budgets and file naming and set ups. I'm actually looking forward to this as I like working in clean organised spaces, which includes the virtual. Having everything tidy and organised will help me know exactly where I am at and where to move next.

The organisation of all files and work flows will help with the work I still need to complete for my production bible. I am behind in the creation of artwork for the bible, but this has been as much about a crisis of confidence in my ability to create images as it has any kind of procrastination and lack of direction. I am still very uncomfortable in creating the images to the level i want, but I have to remind myself that I was in a similar position last year and ended up being very happy with the images I created. I think I need to just relax and not expect them to come quickly. I also need to know more detail when creating the drawings, as I find when I start there are still certain things I don't know about the characters and environments, and I need to know these things in advance, as I don't seem to be able to come up with ideas on the page as i go. I need to know where I am going and draw it, rather than start and chuck ideas on the page.

Animatic and other things

Week just gone completed my animatic. As with everything else it was a struggle. But managed to get it together with the voice overs, as it was almost pointless without the characters and the narrator. Was also able to include some of the music which has been written for me.

Noises Noises Noises

Late again. Sorry. This week have been following up on sounds. Have sent script to actress to play Hermaphroditie she is a professional but fortunately a friend so getting very high quality for free. Yay. Also sent brief through to composer who has already sent through a demo for the exciting/ matinee inspired intro and credits music. It is good, lots of brass etc sounding very 50's but with some programmed beats too. Not sure if I can post on here will attempt tonight or tomo.

Other than that have been trying to organise a pipeline so that I can specify exactly what tasks I should be completing and when, as a lack of focus has been an issue of late.

I also noticed the new Herron ad this week. It has the same background I will be going for in the 'comic panel' 'lithograph' thing so that will be good as a direct example of what I want to do and also how to do it. This is good 'cos I was aware of what I wanted but not sure how to go about it exactly, the ad will be pointing me in teh right direction.

Character Designs

So welcome to Hermaphroditie ('Hermie') and Velvet Fist. These are the character designs from Yen. Hermie is almost spot on but I think VF needs some adjustment; longer legs, wider shoulders, shorter torso and just a little more 'squarish'. But these are very close and show you who we have been talking about all this time. Welcome aboard guys.

Colour Mood Board

Ok so I thought the first mood board was a little unfocussed. It incorporated elements of design, tone, architecture, etc instead of just focussing on colour. So I have done another one deadling with just the colour palette. These are the colours I'm wanting to use; blues, greys, greens and pinks but as you can see everthing is bleached and muted. i have sourced images from old films and faded photographs, I am wanting this vintage look. This is a clearer example of the colours. I still think the first one gives an idea of the piece as a whole, but this one is a little more focussed.

Apologies

Apologies to fans and non fans a-like I have been away at Aussi Masters National Swimming Champs in Tassie (5 G, 3 S & 2 B for those keeping score, which I was) and not working on my project.

This will be rectified tomorrow when some character drawings (done before I left) and some other stuff will be uploaded.

Timings and final designs for backgrounds should be be in stone by end of this week and also added. Probably should be already but, they're not.

New Annotations!!!

There are new annotations to be found in the posts from 23/03/2010. These are the posts of the scanned Script, Thumbnails and Storyboards. Exciting reading to be had!!

Mood Board 2: Animation Stylings

OK So 2nd Mood Board. This one is more about the animation feel and style. As (I believe) I have mentioned before I am going for the 'Saturday Morning Hero' cartoons of the late 60's through to the early 80's. Obviously with Velvet Fist being primarly modelled on She-Hulk, the green amazon features heavily in this mood board. but there are appearances from several other series; He-Man and She-Ra, Super Friends and Thundarr to name a few. What I am wanting to take from these series is very much the design of the characters, though they are simplified, they are not at all stylised like many characters today and those of the 'cartooney' generation before them. These are the super powered heroes I grew up with, and so want to pay homage to them in my piece. Just pulling all these images together was very nostalgic and incredibly enjoyable. This is probably obvious given again I have gone to excess and given little thought to composition, and just wanted to cram in as many cool pics as possible. Hey it works for me, hopefully it gives everyone else an idea of what I'm after too.

Mood Board: Color Design

This is the colour mood board for Q MEN. May have gone overboard but it was fun finding so many images. As you can see I am going for a muted 1950's aesthetic. I want the piece to look like film stoke form the 50's so whilst there is a huge range of colours, the contrast and vibrance of those colours was muted at the time, and has degraded further over the passage of time. There will be mood boards to follow for Animation Style/ Design, and maybe 'Tone' (as in humour style) and production design for the appartment, and props etc.

Story Boards

Here are my horrible storyboards. I hate doing storyboards. Hate it. I love bringing the story from the script into images, it's just that storyboards constantly bring to the fore my lack of drawing ability. This flows on to sap my enthusiasm for the remainder of the piece, given that there is a LOT of drawing to be done. Anyway suck it up stop whining and move on.

These are at least a great improvement from the flat boring thumbnails. Still certainly quite flat during the animated sequence but as I believe I've mentioned before I'm going for the 80's saturday morning cartoon 'talking heads' thing where there was lots of exposition, bad lip synching and reaction shots to minimize lip sync, and props to hide lips to hide lip sync. Lip sync. Lip sync. N*sync. So as a result I'm happy for the apartment scene to be a deliberately flat and boring, hopefully the audience will be able to get on board with the humour. Screw 'em if they don't. I don't owe 'em nuthin, I can always work at the bank again.

There is no timing on these yet, that is 'cos I'm still not sure of it yet. I'll be going over that over this week and will add the timing, I may alter some of the compositions and sequences also, but not sure yet.

Script (finali-ish draft)

Copy of the script. This shouldn't change to much. This was certainly the most enjoyable part for me given that I was able to make changes and tweak things as I saw fit. This is opposed to the story boards and character designs where I am constantly unhappy with what I produce but simply do not have the drawing ability to make what's in my head appear on the paper. The same goes for when I am producing the animation then I am dealing with not only my horrible drawings but also wrestling with software that my analogue brain can not quite comprehend let alone use.

I am worried that this is too long, as usual I struggle to make my point in a succinct manner. I am pinning my hopes on the fact that at least half of this is not animated as such and is actually comic panels; i.e just one still image.

I'm not worried, but interested, to see if the audience gets on the waive-length of the humour I'm going for. It really is pitched at super-hero nerds, so animation is certainly the correct medium for that, but given the ambiguous gender of the two characters (Velvet Fist will sound like a drag queen, Hermaphroditie a 35 year old woman) and the gay themes involved it may be too many things at once and simply be a mess. If so lesson learned. If not, success and stardom beckons. Win/ win.

Thumbnails

Just to give these a little context these were the first pass thumbnails for story boards. The introduction panels are EXTREMELY flat and boring so have since tried to make them a little more dynamic and interesting. Was also conscious at this point of creating as few as possible backgrounds for the animation itself. At this stage point I think there were 6 or 7 now there are 5 which is better, and tidier.

Character Designs

waiting on character designs from Yen. I have done my design, but am wanting him to do the final drawings that I will then use, his style and skill is better than what I can come up with. Still waiting....

Scripts, Scripts, Scripts

Have written 5 scripts (including mine) for the other class members. This has been most enjoyable, especially those that I also created much of the story along with the dialogue etc. I unfortunately made most of them 2-3 pages so need to learn to be more efficient in showing character and story as obviously still need to create to many elements to get accross the intended message. Given these were all done in primarlily one draft though, should be able to tighten them up over time. My own script has been complete for a while, but need to punch up the ending. It is meant to be a little bit of a fizzer anyway, like an epilogue to an episode of said 80's cartoons, so kind of not a real 'joke' but more of a character 'joke' like Calvin and Hobbes etc, but still prob want a bit more punch.

Mood Boards

have started collecting some images and colour pallettes for the mood board.

Story Boards

Story boards have been completed. Tried to ensure there was as few backgrounds as possible to minimise work volume. After the original thumbnails where everything was flat, the new boards have a little more interest. Given the piece is a pastiche/ parody of 80's cartoons, the fact that it is not overly dynamic is ok, I hope. Will scan these in tonight.

OPENING SEQUENCE

Have thumb-nailed the opening sequence (the part with the comic book panels) and it is snoresville. So have tried to come up with some more interesting layouts, cos EVERYTHING was a flat front on shot. Have got some better ideas already and will get Steve to help me compose the frames to make the whole thing a bit more dynamic and engaging.

Darren also pointed out in one of the programs I'll be able to do the panels in layers and move within the panel itself and then on to the next on in 3D space. This will be similar to the Spider-man 3 opening (probably all of them actually but I can't remember) where we move from 2d panel to panel in a 3D spider-web. That should also ad far more interest in the sequence.

SCRIPTS!!!

I have finished my script, as mentioned before. It is too long, but then what else is new? Writing the script was great and as a result I have been shopping my services around to everyone else to write their scripts. As of now I have written both Ryan's and Yen's. It was great being able to interpret their stories and incorporate some character elements and arcs that I felt were appropriate. Yen is yet to see the draft I have done. Ryan is happy with the final product I produced for him. Chris has also asked to have a chat re me helping out on his script. It's great to be able to help out at this point, knowing I'll be of much less use to everyone once the production starts in earnest.

HERMAPHRODITIE

Hermaphroditie finally has face and a body. Relatively comfortable with the the elements, but just as with Velvet Fist, will look forward to some evolution before having to animate them. I have however given the two designs to yen and requested his interpretation of them. I think he will offer a cleaner design than I have produced and I can continue on with his designs.

APARTMENT

Have moved on from original idea of having the apratment look like the commission housing apartment block in Rathdowne St, and gone for something a little more eastern block/ghetto. have found a good reference pic where there is a graffititied concrete wall with barb wire and a derelict building in background. I like the idea that this shows they heroes not only live in a poor area, but in a segregated area, reminiscent of apartheid. Wow deep.

Need some more work on the interior design and furnishing of the apartment. Will be pretty sparce, they are poor after all, but still need enough to make it visually interesting and look like a real living space.

HERMAPHRODITIE (and character deisgn talk)

Hermaphroditie has again taken a back seat to other work i.e. the script and thumbnails. Cara wanted to do a design and she did a good job, will be able to integrate some of her ideas into the final design.

Still not entirely happy with Velvet Fist. But that is as much because I'm never happy with my drawing abilities. Have a desin that is representitive of what was in my head, but every drawing I see of a She-Hulk-ish character by an artist with talent makes me hate my design. Will have to deal with it, let it go, relax and move on.

THUMBNAILS

Have completed first version of thumbnails. REALLY boring layouts for initial comic panel/ opening credits. Will have to head back to the drawing board and come up with some more interesting angles and ideas.

The animated section fared a little better. Am comfortable with finding a few different ways of hiding mouth to avoid lip sync, am just concerned is a little bit repetitive and boring. I like the master shot of the appartment, some of the others are only ok though. They are hardly inspired designs... will watch more crap old super hero-ish cartoons and old comic books to get some more layout ideas.

SCRIPT

Have completed 2nd draft of script, this time done in proper layout thanks to Cltex. Still really worried is way too long, as I become even more familiar with the story, maybe I'll find ways of communicating the points in a more efficient manner. Although, knowing me, probably not. At the moment it's about 2 1/2 to 2 2/3 pages long, this however includes the opening credits. Also at least on page is based on one still image or a sequence of still images (drawn to look like vintage comic book panels) so that should reduce the work load.

THE APPARTMENT

Finding it hard to get good ref for the appartment, both exterior and interior. Had imagined the exterior as looking like the commission appartments on Rathdowne St, but perhaps the style of the interior is more New York-ish and, given all Heroes inhabit New York or a New York pseudonym (Gotham, Metropolis) should perhaps make the exterior follow this stereotype. But I know the layout of the room (it's very bare, they're like starving dero Uni students so no furnishings) so will keep working on that, and building/ furnishing as I get comfortable with all the details.

HERMAPHRODITIE

Hermaphroditie design WAY behind schedule! Have some good ref pics though of his/her face from P!nk, Robyn and some other androgynous chicks. Also some good ref drawings of Hank and Dean Venture, Tinkerbell and Xandir to get some design ideas for boyish features and body. Style has been consolidated by Velvet Fist design, so won't take as long as 'her'.

VELVET FIST DESIGN

Velvet Fist design, almost finalised images to follow. Body ref from Serena Williams, face and attitude from Fran Fine (the Nanny). Also found some good ref drawings of She-Hulk, Wonder Woman and Power Girl that have been useful for how to stylise physique and face/hair details.

Q Men Script Draft #2

Intro
As the following voice over reads, comic strip panels move past, illustrating the narrative.

NARRATOR

"The gay gene has been found. In an attempt to rid the world of this scourge, scientists found a way to virally mutate the gene, turning all pink bloods into true blue red blooded citizens. But a lab accident sent an unstable strain of the virus into the atmosphere gifting the queers with extraordinary powers, leading them to become the next stage in human evolution: superior-homo! War now rages between the two species, leaving our only hope for salvation to a small but well drilled group of mutants: The Q Men."

FADE IN

EXT APARTMENT BLOCK

A derelict and drab apartment building stretches into the sky surrounded by wild unkempt garden beds a completely broken down playground and basket ball court where both goal rings are in a state of disrepair.

INT APARTMENT

Inside one of the apartments. Every-bit as uninspiring as the exterior; water damage highlights every wall. The central heating unit looks like a relic from early last century and the thread bare carpets are probably only held together by thriving dust mite colonies.

HERMAPHRODITIE sits slouched on a couch that a hobo would be ashamed of, watching an old TV with a coat hanger for an antenna.

The door suddenly slams open with unnatural force and VELVET FIST, a 7' tall blue giant with flaming red hair walks in, her canary yellow 'baby doll' costume smeared with blood.

VELVET FIST

Oh I tell you, I am so sick of mortal henchmen...
The screen freezes framing Velvet Fist and immediately transforms into a comic strip panel with her name in the corner.

NARRATOR

Velvet Fist. Seven feet of royal blue power.
Superhuman strength and dress sense.
Smith and Western for long range combat, and 'cos
it looks SUPER hot.
The freeze frame cedes to the animation

VELVET FIST (cont)

...One punch and they explode like a water balloon.

HERMAPHRODITIE

They really should be more considerate in their final moments.
The screen again freezes to a comic panel, this time on Hermaphroditie.

NARRATOR
Hermaphroditie. A changling. Hermaphroditie
can take on the the appearance and
characteristics of any person or creature.
An intersex in the purest sense, Hermaphroditie
is neither male nor female, rendering pronouns obsolete.

The panel once again gives way to the animation

VELVET FIST

For someone who can become
anyone you certainly lack empathy of any kind.

HERMAPHRODITIE

So in that scenario of the henchmen water balloon
I'm supposed to empathise with the pin?

VELVET FIST

Oh please. You give more thought to how
many squares of toilet paper to use than killing henchmen.

HERMAPHRODITIE

Classy

VELVET FIST

You know what I mean. Blood is so hard to get out
of my costume, I only have two of these things to rotate.
Image is important you know, especially if we want to break
into the more prestigious teams.

HERMAPHRODITIE

Your obsession with appearance is a weakness.
Just as I have transcended gender,
I have transcended your archaic notions of clothing.

VELVET FIST

Transcended nothing. You just like walking around naked.

HERMAPHRODITIE

No nipple. No naked.

VELVET FIST (provocatively)

Although you certainly have managed to transcend vanity
HERMAPHRODITIE (trying to hide shock and hurt feelings)
Yes, well, it's another subjective, restrictive concept

VELVET FIST

I think it's noble, given your abilities, that you don't make yourself prettier...
or more handsome, whatever it is you do.

HERMAPHRODITIE

My self worth is not validated by someone deeming
my appearance as beautiful.

VELVET FIST

And good for you! So are we still going clubbing tonight?
HERMAPHRODITIE

Sure.

Velvet Fist exits the room

VELVET FIST (OS)

And will you be going as Brad or Angelina then?

HERMAPHRODITIE

I do that to maintain my secret identity!

VELVET FIST (OS)

Of course you do. I just have to chuck my archaic notions in the laundry.

END CREDITS

Treatment: Q Men

WORLD:

An alternate 1950's universe. Fashion, language, and design are all reminiscent of 1950's Aus/ USA. Same goes for the societies' very conservative views. People are defined and critically judged by their appearance and their adherence to the expected behaviours.

Like Batman TAS the universe has the design principals of a bygone era, but has technology equal and at times superior to ours, however with a naive and impractical application, i.e a 1950's view of future technology.

CHARACTERS:

VELVET FIST

Velvet Fist is a She-Hulk analogue. She is 7 feet tall with royal blue skin and flaming red hair, lips and finger nails. It is unknown if she is a huge woman or a man in drag, as she also sounds like an effeminate male and is overly deliberate in her feminine mannerisms.

She is hyper-female in appearance, always dressed in the most provocative and sexualised outfits. Her costume when in Super Hero mode is a canary yellow baby-doll teddy, coupled with impossibly high-heeled boots. She also carries a large 6 shooter on a garter on her right leg for long range combat, and changeling because of the phallic associations.

She can be bitchy like any self respecting drag queen and despite her superficial nature and cheer leader intonation and vocabulary, can be quite intelligent, manipulative and skilled at pushing people's buttons. She is also very proud of her appearance, liking to show of her body, and being desired by all, she is a complete exhibitionist.

HERMAPHRODITIE

Hermaphroditie is a changeling. Able to take on the form of any person or creature. She is a true hermaphrodite in that she is neither male nor female (referred to as 'she' for ease of communication and because she will be voiced by a female). In her unaltered state she is approximately 5'' 8' with blond hair and fair skin. She has an appearance of a 16 year old boy, but with the voice of a woman in her 30's. As her powers allow her to morph into anyone, including generating their clothes she has no need to wear clothes herself. In her un-morphed form she is naked, however with no nipples or genitals.

She is a spiky personality, very anti-establishment. She believes herself to be the have the purest view of the world because she is not bound by institutions such as gender and clothing. Her pride in her insight however lead her to being very blinkered and closed minded to any view other than her own.

She is blunt in her communication, happy to be very confrontational in any interaction with anyone, pulling them up on any opinions she believes to be ignorant or oppressive. Her views of oppression are easily inflamed by anything from language ("patriarchal in origin!") to architecture ("phallic manifestations!").


STORY

The opening narrative is read in the style of a 1950's newsreel. As the narrator reads we scan over comic panels illustrating his story. The line "...next stage of evolution superior-homo" is illustrated by the Darwinian image of apes through to man, with a new final stage of an overtly camp male, back arched, winking in a comely fashion to the viewer.

After the introduction with the narration and the comic panels the animation begins with an establishing shot of a derelict apartment building in a run down area. The apartment building is tall with hundreds of tiny windows, the rooms will obviously be small and the windows will let in minimal light. The building is surrounded by wild and unkempt gardens, overgrown and predominantly weeds. There is a broken down playground, the equipment unused for years and is various states of complete disrepair. A basketball court, bitumen broken into small islands separated by small estuaries of wild grass can also be seen, has its two rings bent towards the ground, old men now weak to fulfil their duties.

Inside an apartment it is as depressing as the exterior. Faded green walls are decorated with the sickly brown trails of water damage, the stained carpet appears a fertile ground for indoor mushrooms. HERMAPHRODITIE sits on weary couch that is hemorrhaging its stuffing. She is slouched watching a old TV, with a coat hanger for an antenna.
The door slams open with unnatural force revealing VELVET FIST, her bright yellow costume stained with large smears of blood. She complains about the lack of mortal henchmen's ability to handle a punch from a super powered being without spraying their insides. She receives no sympathy from Hermaphroditie. Velvet Fist persists with her point that it is hard for a struggling Super Hero to maintain costumes etc when they are constantly being stained and wrecked by henchmen entrails.
Hermaphroditie chastises Velvet Fist for her adherence to manufactured institutions such as 'clothing' 'gender', indirectly praising herself for her ability to transcend such trifling matters.
Velvet Fist uses her piousness against her by praising Hermaphroditie for her commitment to ignoring vanity, and not making herself more attractive, given her powers make that an easy option. Forced to maintain the course she had plotted herself Hermaphroditie acknowledges she does not feel the need to gain external validation for her appearance, even though she has clearly been hurt by Velvet Fists insinuation that she is not attractive.
Velvet Fist congratulates Hermaphraditie again on her intrinsic self worth as she asks if she will both be joining her that night at the clubs, Hermaphroditie says she will. Velvet Fist then pointedly asks if she will be attending as 'Brad' or 'Angelina', acknowledging that her digs at Hermaphroditie's appearance were meant to be an attack. Still trying to maintain that she is not beholden to such trivial notions of being judged on appearance Hermaphroditie cries that her attendance of clubs incognito is to maintain her secret identity. Given she will be hanging out with the only 7'' tall, blue skinned red head in the city, Velvet Fist is not convinced.

CONCEPT/ CONTROLLING IDEAS
To show highlight how archaic the notion is to judge someone by their appearance, and yet how someone looks will likely define their character.
To have some witty dialogue and repartee
Visually take the piss out of Super Hero and limited animation series of the 50's/60's

Challenge notions of gender and the expected characteristics associated with each.